BY STEPHANIE ESLAKE
The Australian Youth Orchestra exists to nurture and launch the careers of those who dream of a life in music.
Of course, a life in music doesn’t necessarily mean the life of a performer. And what happens backstage can be just as exciting and fulfilling as what goes on under the spotlight.
In this interview series, we meet some of the artists who have participated in — or facilitated — programs for those of us who have dreams outside the stage. First, we meet young composer Thomas Misson, who in 2019 took part in the Australian Youth Orchestra’s esteemed Composition program.
Thomas graduated in 2016 from his Bachelor of Music with First Class Honours in Composition at the University of Tasmania, and has since studied further at the University of Melbourne. Along with a string of AMEB achievements, Tom uses his knowledge to tutor composition — and strengthens his knowledge through experiences like AYO.
Tom, you’re a young composer, but you’ve picked up some fantastic experiences in the past decade. Your works have been widely performed across Tasmania, and that’s all before you moved to Melbourne to further your studies in the field. How have you found the experience of working in this industry so far?
Tough but incredibly worthwhile.
For many, keeping a music career going is a matter of finding enough use for your musical skills to financially supplement your desired musical discipline. Teaching composition, theory, and piano have been my main sources of income alongside piano accompaniment, but I’m hoping to expand that.
In lieu of paid residencies or raking in the royalties — fairly unlikely in my area of interest and style in my 20s — you’re using what time you have left to pursue composing. I’ve heard of a few composers using the strategy of getting up very early — 5am or earlier — when they can get a clear, focused run of composing, which is a smart idea.
I tell you what, 5am is an impressive goal! So you enrolled yourself in AYO in 2019, studying the Composition program. Why AYO, and why now?
At the time, there were five main reasons why I applied for AYO:
- I’d met a composer who’d participated in the program and he had a good experience.
- Melody Eötvös was the tutor for 2019, and I was hoping for an opportunity to hear her unique perspective and learn from her, having found her interesting from afar through online media.
- There’s a good interdisciplinary cross-section of the types of roles that keeps the Australian classical music industry afloat — musicians, sound engineers, journalists, composers — and it’s a unique opportunity to be part of that in such a large localised ecosystem.
- At the time, I was in Tasmania, which at times felt isolated. So it was really nice to have the opportunity to be so close to the centre of young musical activity in Australia.
- It’s a chance to engage in workshopping a piece and gaining a recording to boost your portfolio.
As for why now, I was 25 when I sent in my application, so I was nearing the top of the age bracket allowed to participate [30 years old] — and felt it was best not to delay!
I can certainly relate to your third and fourth reasons, having come up from Tasmania myself for the 2014 National Music Camp! But back to you. You have done a lot of study in music and composition. So what are some of the specific things you were looking forward to learning through AYO, which you can’t learn elsewhere?
I looked forward to learning Melody’s perspective on composing technique, her philosophy behind it and ideas on career progression. AYO is also unique in Australia because of the potential for cross-pollination between musical fields on a large scale.
However, for me, the most unique selling point was the chamber orchestra the selected composers wrote for. Chamber orchestra is perhaps my favourite large ensemble to write for as it often has less conventional instrumentation, and it’s more agile than a large orchestra both as a musical unit and at the organisational level.
How did your AYO experience fulfil these expectations — and what else did you learn that you didn’t think was even a thing?
I learnt some basic skills in electronics and using new software. Although I knew they were a thing, I didn’t expect to be learning that during the course. And I was really happy that it came up as it was an important step in me slowly becoming less of a luddite!
Composing is undeniably personal, and yet you took part in a program that exists to help further your skills and career — and simultaneously, the skills and careers of others in your group. What was it like learning composition in this group environment? And what did you get out of connecting with other like-minded composers?
Although the actual work is done alone 99 per cent of the time, it’s really important for composers to get together. Not only because of the homely feeling of indulging fully in what you’re passionate about, but for getting second opinions on orchestration, structure, notation, analysis, musical philosophy, and the many other layers of thought a composer has to master and control simultaneously.
After AYO, the 2019 group stayed in touch after the program had finished with semi-regular Zoom calls, so I’m pleased the relationship grew beyond the program.
So, what does a day in the AYO’s Composition program look like?
Intense. At the time, I had an additional large-scale commission, and was remotely house hunting. So my advice is: start clearing your schedule as soon as you’re accepted!
In 2019, the program involved a variety of compositional and analytical tasks, readings to complete, workshops on how to write for certain instruments — my personal favourite, alongside the writing and workshopping of the piece for chamber orchestra.
Outside of these appointments, the time was yours to use wisely. For me, this was almost always devoted to writing. But there were so many concerts and events you could attend and lap up that every waking moment was accounted for — perhaps more!
What opportunities does the AYO Composition course give you as a composer? Was your music heard, and did you meet people you’d like to collaborate with?
The music was heard at a concert, which was also heard on national radio. After this, we received a recording of our piece alongside the interview we completed with the participants of the Words About Music program to add to our portfolio.
Beyond this, it was of significant social benefit as I met many who I’m still in touch with — usually with an annoyingly large list of questions about their instrument! — and many people I’m really happy to see when we happen to be in the same city.
You’re also a tutor in your own music career, so you know a lot about the needs of students and how to facilitate a good lesson. Bringing this knowledge into the AYO program, how would you rate the ability of AYO’s professional staff in teaching you about the industry?
Melody was a wonderful teacher, and in particular did a great job in teaching us tips on handling the business side of things. She made a real effort to understand what you wanted from your music, and giving clear, actionable advice on how to achieve that.
Apart from the extensive work with Melody, I enjoyed the perspectives of different guest interviewer events, and the musicians we did work with struck a good balance between fun and productivity.
One thing I would have liked at the time was more guidance on how to prioritise and divide up my time. That’s just me, though: I like to be very structured and certain with my plans.
I’m going to ask you a broad-level question now, Tom. In 2020 — a year that’s seen the end of an absolutely horrific bushfire season, and the beginning of a global pandemic — what is the importance of new Australian music? Why do we need it, and what difference does it make?
Whether in the present or retroactively, art is a tool for understanding a time and place politically, historically, psychologically, philosophically, and beyond. From that perspective, Australian music is inarguably valuable.
However, looking into more universal benefits, there are so many styles and approaches to creating music that there’s always something out there that feels almost made for you. If you’re a group or individual who doesn’t feel understood and empathised with, a piece of music can, among other things, feel like a confidant or even a soulmate — and that can be an incredibly powerful ally in tough times such as 2020.
What have you been up to since AYO, and what are your plans for a hopefully much calmer 2021?
I’m hoping to find enough work in Melbourne to stay here for 2021 and continue putting down roots, building a support network, and enjoying the diversity of opportunity that Melbourne has to offer.
I’ll finish my Masters late-February, so I’m busy getting that moving while on the home stretch of my degree.
Apart from that, hopefully I’ll be appreciating the hugs, the coffee dates, and all-analogue communication a lot more!
The Australian Youth Orchestra’s arts administration and composition programs are now open for application. Stay tuned as we team up to bring you more interviews with artists who work behind the stage!
Images supplied.
